1
Simple Substitution
If reharmonizing a tune is like painting a car, then simple substitution is like choosing a
different shade of the same color—going from blue to indigo, or rose to pink. Simple
substitution involves replacing a chord with another that has similar harmonic function. It
allows you to change the sound of a tune while still retaining much of its original color.
In order to use simple substitution as a reharmonization technique, you must understand
the division of the seven diatonic chords into three groups or families. Each of these
chord families has a function. A chord’s function is its tendency to move or remain
stable within a musical phrase. Let’s use the key of C as an example.
CMaj7
D–7
E–7
FMaj7
G7
A–7
B–7( 5)
IMaj7
II–7
III–7
IVMaj7
V7
VI–7
VII–7( 5)
Fig. 1.1. Diatonic seventh chords in the key of C
Tonic Family
Analysis Symbol: (T)
The tonic family of chords has a resting function. Chords in this group tend to sound
stable. They have little sense of forward motion and are almost always found at the
phrase endings of popular and standard tunes. Diatonic chords built on the first, third,
and sixth degrees of a scale are the members of this group.
CMaj7
E–7
A–7
IMaj7
III–7
VI–7
Fig. 1.2. Tonic family (T) chords in the key of C
Tonic chords share several common tones. The chords are considered restful because
they do not contain the fourth degree of the scale, which is F in the key of C. The fourth
degree of any major scale is known as a tendency tone—it tends to lead to the third
degree of the scale when played over IMaj7.
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simple substitution
Subdominant Family
Analysis Symbol: (SD)
Chords in the subdominant family have a moderate tendency to move ahead within
the musical phrase. All chords in this family contain the restless fourth degree of the
scale. Chords built on the second and fourth scale degrees make up this group. The
V7sus4 is also included in this family, because it contains the fourth scale degree instead
of the third. (Using a suspended fourth instead of a third eliminates the tritone that gives
a dominant family chord its characteristic sound. The tritone function is described below.)
D–7
FMaj7
G7sus4
II–7
IVMaj7
V7sus4
Fig. 1.3. Subdominant family (SD) chords in the key of C
Dominant Family
Analysis Symbol: (D)
Chords in the dominant family sound unresolved and have a strong tendency toward
resolution. They are said to have a “moving” function. Dominant chords almost always
precede phrase endings in popular and standard tunes. The chords V7, VII-–7(%5), and
V7sus4 are in this family. (The V7sus4 chord has a dominant function when it resolves
directly to IMaj7, even though it lacks the tritone interval.)
G7
B–7( 5)
G7sus4
V7
VII–7( 5)
V7sus4
Fig. 1.4. Dominant family (D) chords in the key of C
V7 and VII–7(%5) share many common tones. They also contain both the fourth and
seventh scale degrees. The intervallic distance between these two notes is called a
tritone, also known as an augmented fourth. The tritone’s highly restless sound
produces a strong sense of forward motion. The tritone formed by the third and seventh
of a dominant chord creates the chord’s strong forward motion. Dominant family chords
often resolve to a chord in the tonic family.
C7
tritone
Fig. 1.5. C7 chord with its tritone interval
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How Simple Substitution Works
The following examples explore how simple substitution works.
F6
D–7
B
F6
I6
(T)
VI–7
(T)
IV
(SD)
I6
(T)
Fig. 1.6. A basic model
Below, simple substitution modifies the model. Note that the chord function is kept the
same in each measure. Look closely at the musical example to:
1. Verify the functional analysis of each chord in the original phrase.
2. Observe the substitution of other chords that have a similar function in
the key.
F6
A–7
G–7
F6
I6
(T)
III–7
(T)
II–7
(SD)
I6
(T)
Fig. 1.7. Simple substitution modifies the basic model
F6
D–7
C7sus4
D–7
I6
(T)
VI–7
(T)
V7sus4
(SD)
VI–7
(T)
Fig. 1.8. Simple substitution, another variation
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simple substitution
The following examples apply simple substitution to a phrase from the jazz standard,
“Here’s That Rainy Day.” Notice the functional analysis of each chord in the original
phrase.
G–7( 5)
II–7( 5)
(SD)
C7( 9)
V7( 9)
(D)
FMaj7
IMaj7
(T)
Fig. 1.9. “Here’s That Rainy Day” ( J. Van Heusen/J. Burke), original form
G–7( 5)
E–7( 5) or C7sus4
FMaj7
II–7( 5)
(SD)
VII–7( 5) or V7sus4
IMaj7
(T)
Original V7( 9) replaced with
chords of similar (D) function
Fig. 1.10. “Here’s That Rainy Day,” dominant chord replaced by another chord in its family
G–7( 5)
C7( 9)
A–7
II–7( 5)
(SD)
V7( 9)
(D)
III–7
(T)
Original IMaj7 replaced with III–7,
a chord of similar function
Fig. 1.11. “Here’s That Rainy Day,” tonic chord replaced by another chord in its family
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Melody/Harmony Relationships
When using these substitutions, pay close attention to the melody/harmony
relationship—the intervals created between the notes in the melody and the notes in
the supporting chord. Sometimes, the notes in the new substitute chord can clash with
the melody.
Unwanted %9 Intervals
Avoid unwanted %9 (or %2) melody/harmony intervals when using simple
substitution. The %2 interval is a half step. It is also known as a %9, which is an octave
plus a minor second. This melody/harmony interval creates a dissonance strong enough
to destroy the basic function of the chord. In general, avoid choosing a substitute chord
that creates a %9 interval with any one of the melody notes.
The V7(%9) is the only common exception to this rule. The V7(%9) has become an
acceptable sound in many pop and jazz songs. For example, a C7%9 moving to FMaj7
in the key of F major works because the %9 is combined with a tritone interval. Both the
%9 and tritone intervals follow established melodic tendencies when they resolve to the
Fmaj7. Many listeners perceive %9 combinations that do not follow such well-established
paths of resolution as errors or wrong notes.
In the following example, the III–7 creates an unwanted %9 interval in the melody, also
referred to as “in the lead.” The last melody note, F, forms a %9 with E, which is the
fifth of the A–7 chord. The chord has a minor quality and as such cannot be clearly
understood if used with a %9 melody/harmony combination.
Melody/harmony clash
F6
D–7
B
A–7
I6
(T)
VI–7
(T)
IV
(SD)
III–7
(T)
Fig. 1.12. Unwanted 9 melody/harmony relationship
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simple substitution
Unwanted Tritone Intervals
Avoid unwanted tritone (#4/#11) melody/harmony intervals on minor
seventh chords.
CMaj7
FMaj7
A–7
E–7
IMaj7
(T)
IVMaj7
(SD)
VI–7
(T)
III–7
(T)
Fig. 1.13. Original form
Below, in measure 2, the B in the lead of D–7 creates an unwanted tritone interval with
F, the third of the chord. This tritone melody/harmony combination destroys the chord’s
original function, transforming D–7 from a subdominant chord into an odd-sounding
dominant structure. The resulting sound is dissonant and awkward in a simple diatonic
context; the interval combination doesn’t blend or resolve smoothly within the phrase.
CMaj7
D–7
A–7
E–7
IMaj7
(T)
II–7
(SD)
VI–7
(T)
III–7
(T)
Fig. 1.14. Unwanted tritone melody/harmony relationship
It is interesting that the IVMaj7 chord (FMaj7) can be used with #4 in the melody, while
its simple substitution, II–7(D–7), does not work as effectively with the same melody/
harmony combination—even though both chords share subdominant function.
Most pop writers adhere to the unspoken rule of not using #4 intervals on minor seventh
chords because it can create too great a change in the sound and character of the
original chord. To the listener—even to the nonmusician—the FMaj7 with B in the lead
sounds subtly less awkward than D–7 with B in the lead.
The use of 13 in the lead of minor seventh chords, which produces a tritone with the
third, is even more awkward when the minor seventh is a II–7 followed by V7. The
musical flow of the cadence seems more satisfying when the tritone interval and its
greater sense of motion are reserved for the G7. Avoid using a 13 or %13 in the lead
of II–7 chords.
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Another general rule to follow when reharmonizing popular tunes: keep it simple.
Once you have chosen your primary chord substitutions, you can add additional chords
to help smooth out the progression. Adding chords increases the number of chords used
in each bar. This is referred to as increasing the harmonic rhythm.
In general, more active harmonic rhythms produce a more energetic musical phrase,
while slower harmonic rhythms are more languid. Evaluate the effect of different
harmonic rhythms with every musical example you encounter.
The example below reharmonizes the melody of fig. 1.6 using simple substitution and
doubling the number of chords per measure. This gives the progression a “busier” feel.
The chord inversion (A–7/E) smoothes the transition between the two tonic chords.
F6
D–7
A–7/E
FMaj7
B
F6
I6
(T)
VI–7
(T)
III–7/5
(T)
IMaj7
(T)
IV
(SD)
I6
(T)
Fig. 1.15. Simple substitution and faster harmonic rhythm
Jazz standards and bebop tunes, which commonly use two or more chords per measure,
have fast harmonic rhythm. In contrast, in contemporary pop styles, a single chord may
last for many measures.
F6
D–7
A–7/E
FMaj7
B
G–7
F6
I6
(T)
VI–7
(T)
III–7/5
(T)
IMaj7
(T)
IV
(SD)
II–7
(SD)
I6
(T)
Fig. 1.16. Jazz- or bebop-style harmonic rhythm
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simple substitution
Exercises
Reharmonize the examples using simple substitution. Use both slow and fast harmonic
rhythm in developing your reharmonizations. Label each chord with a Roman numeral
(IMaj7, II–7, etc.), and label each chord with its functional family name: tonic (T),
subdominant (SD), or dominant (D). The first example is done for you. After trying some
chord substitutions of your own, check out the reference examples at the end of the book.
Note: It is not necessary to change all of the original chords to get an interesting
reharmonization.
EXERCISE 1.1
Original form with Roman numeral analysis:
CMaj7
F
A–
E–7
IMaj7
(T)
IV
(SD)
VI–
(T)
III–7
(T)
Your reharmonization 1:
Your reharmonization 2:
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EXERCISE 1.2
Original form with Roman numeral analysis:
F
G7sus4
G
F
C
G
IVMaj7
(SD)
V7sus4
(SD)
V
(D)
IV
(SD)
I
(T)
V
(D)
Your reharmonization 1:
Your reharmonization 2:
Continue reharmonizing these examples using simple substitution. Use the same analysis
procedures as on the previous page.
EXERCISE 1.3
Original form with Roman numeral analysis:
F
G7sus4
G
F
C
G
C
IV
(SD)
V7sus4
(SD)
V
(D)
IV
(SD)
I
(T)
V
(D)
I
(T)
Your reharmonization 1:
Your reharmonization 2:
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simple substitution
EXERCISE 1.4
Original form with Roman numeral analysis:
A–
E–7
FMaj7
D–7
G7
VI–
(T)
III–7
(T)
IVMaj7
(SD)
II–7
(SD)
V7
(D)
Your reharmonization 1:
Your reharmonization 2:
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